DONGJING MENG HUA LU / 卷七
清明節
The city walks out.
Qingming as a municipal exodus: palace carriages to the imperial tombs, paper pavilions on every street, picnics under the trees, and a drunk, slow return through the gates at dusk.
READ THE FESTIVAL ↓1. The festival and its three days.
清明節,尋常京師以冬至後一百五日為大寒食,前一日謂之「炊熟」,用麵造棗䭅、飛燕,以柳條串之,插於門楣,謂之「子推燕」。子女及笄者,多以是日上頭。寒食第三節,即清明日矣。凡新墳皆用此日拜掃,都城人出郊。禁中前半月,發宮人車馬朝陵;宗室南班近親,亦分遣詣諸陵墳享祀,從人皆紫衫、白絹三角子、青行纏(皆係官給)。節日亦禁中出車馬,詣奉先寺、道者院,祀諸宮人墳,莫非金裝紺幰,錦額珠簾,繡扇雙遮,紗籠前導,士庶闐塞。諸門紙馬鋪,皆於當街,用紙衮疊成樓閣之狀。
For Qingming, the capital ordinarily counts the hundred-and-fifth day after the winter solstice as the Great Cold Food; the day before it is called “cooking day.” People make jujube cakes and flying swallows out of flour, thread them on willow twigs and stick them above the door lintel, calling them “Zitui swallows.” Girls who have reached the age for the hairpin often have their hair put up on this day. The third day of Cold Food is Qingming itself. All new graves are visited and swept on this day, and the people of the capital go out to the suburbs. Half a month earlier the palace dispatches court ladies in carriages to the imperial tombs; the southern-branch clansmen and close relatives of the imperial house are likewise sent in turn to sacrifice at the various tombs, their attendants all in purple jackets, white silk three-cornered caps and blue leg wrappings, all issued by the government. On the festival day the palace also sends out carriages to the Fengxian Temple and the Daoists’ courts to sacrifice at the graves of palace women — every one of them gold-fitted, with dark-blue carriage curtains, brocade fringes and pearl blinds, double embroidered fans, and gauze lanterns leading the way. Townspeople and officials crowd the gates. The paper-horse shops all stack paper in the form of towers and pavilions in the street.
The passage keeps two calendars side by side. One is the astronomical count — a hundred and five days after the solstice — that fixes the festival; the other is the household count of three days, each with its own object. The palace appears twice, once as a ritual state sending carriages to the tombs and once as a buyer of white-silk caps and purple jackets issued by the government. The paper pavilions in the street are the first signal that the exodus has a commodity chain.
2. Picnics, gifts and the return.
四野如市,往往就芳樹之下,或園囿之間,羅列杯盤,互相勸酬。都城之歌兒舞女,遍滿園亭,抵暮而歸。各攜棗䭅、炊餅、黃胖、掉刀、名花異果、山亭戲具、鴨卵雞雛,謂之「門外土儀」。轎子即以楊柳雜花裝簇頂上,四垂遮映。自此三日,皆出城上墳,但一百五日最盛。節日坊市賣稠餳、麥糕、乳酪、乳餅之類。緩入都門,斜楊御柳,醉歸院落,明月梨花。諸軍禁衛,各成隊伍,跨馬作樂,四出,謂之「摔腳」。其旗旌鮮明,軍容雄壯,人馬精銳,又別為一景也。
The open country is like a market. Everywhere, beneath the fragrant trees or in the gardens, people set out cups and platters and press wine on one another. The singers and dancing girls of the capital fill every garden and pavilion and return only at dusk. Each carries jujube cakes, steamed buns, yellow dolls, swords for play, famous flowers and rare fruit, toy mountain pavilions, duck eggs and chicks, which are called “local gifts from outside the gate.” The sedan chairs are piled over the top with willow and mixed flowers, hung down on all four sides as a screen. For three days from then on everyone goes out of the city to visit graves, but the hundred-and-fifth day is the busiest. On the festival day the markets sell thick malt syrup, wheat cake, milk curd and milk cake. Slowly they re-enter the city gates, willow trailing slantwise along the imperial road; drunk, they return to their courtyards under a bright moon and pear blossom. The imperial guards and other troops each form into ranks, riding and playing music, fanning out in every direction in what is called “throwing feet” (a slang term for riding hard). Their banners are bright, their bearing mighty, the men and horses sharp — another sight altogether.
The tomb-sweeping disappears at the first full stop. What the text describes for two hundred characters is a picnic: wine, gifts, flowers, toys and live chicks. Meng does not record any grief at the graves. The last image is military, not funerary — mounted guards playing music in ranks — and the text itself calls it a separate spectacle. The return at dusk, drunk, slowly, under moon and pear blossom, is the passage the later Reading entries on gardens and the Golden Bright Pond will build on.
Two readings left open.
The Siku witness has a lacuna before 腳. Modern editions supply 摔, a slang word for riding at speed; the page adopts 摔腳 and flags the choice.
One graph is unreadable in the Siku scan. 就, the reading in the other known text, is adopted here.
Jujube cakes (棗䭅) and flying swallows (飛燕) are flour confections. The page does not translate 䭅 as a technical term.
The hundred-and-fifth day after the winter solstice, when fires were traditionally banned.
Flour swallows hung above the door in memory of Jie Zitui, who died in the fire.
The coming-of-age ritual for girls who have reached hairpin age.
The palace’s ritual procession to the imperial tombs.
The foods and toys that picnickers carried home from outside the city gates.
Shops selling paper offerings, here building street pavilions.
Entry 52 lets the grave-sweeping fall behind the picnic. The festival is counted in days but felt in movement: carriages to the tombs, sedan chairs covered in flowers, troops in ranks, the city slowly flowing back through its gates at dusk. The next entry follows the crowds to a different kind of destination — a pond the court opens to the public.
緩入都門,斜楊御柳,醉歸院落,明月梨花。The sequence is Meng’s. The punctuation is editorial.
The primary text is read from the Siku-family witness (Kanripo KR2k0111, 卷七); punctuation and the standardization of Siku variant glyphs are editorial. The 摔 in 摔腳 fills a lacuna in the Siku scan.